롱사르의 나르키소스, 통합된 세계에 대한 욕망 : 사랑시를 중심으로

손주경(Joo-Kyoung SOHN) 프랑스문화예술학회 2023 프랑스문화예술연구 Vol.85 No.-

사랑을 노래하는 롱사르는 우울한 나르키소스의 모습을 자주 등장시킨다. 사랑에 실패한 자신의 공허한 모습을 샘에서 바라보면서 나르키소스의 운명을 얻었다고 탄식한다. 그런데 그가 발견하는 것은 불행한 자신의 모습과 더불어 자신에게 기쁨을 주는 여인의 초상이기도 하다. 특히 여인의 모습이 그의 욕망에 의해 만들어졌다는 점에서 그는 자기 상상의 희생물이기도 하다. 그의 정체성은 모호해지고, 그런 모호함으로 인해 불행은 더욱 강화된다. 흥미로운 것은 이런 모호함이 의도된 것이라는 점이다. 경계가 무너진 세계 안에서 서로를 비추게 된 자신과 여인을 통해서 그는 자아와 타자의 구분에서 벗어난 세계에 대한 욕망을 드러낸다. 여인의 아름다움을 비추면서 동시에 자신을 비추는 역할을 수행하는 새로운 꽃의 탄생을 그는 기원한다. 안과 밖이 구분되지 않는 말의 ‘거울’ 효과를 나르키소스 신화에 부여하는 롱사르에 의해 오비디우스의 나르키소스가 맞이했던 고통과 죽음은 헛된 초상들, 즉 허구가 만들 통합적 세계에 대한 욕망을 비추는 거울이 된다.

만주 모더니즘과 『시현실』 동인

조은주(Cho, Eun-Joo) 부산대학교 한국민족문화연구소 2019 한국민족문화 Vol.70 No.-

본 연구는 『詩現實』 동인이 공유하고 있는 ‘전쟁’, ‘기념일’, ‘나르키소스’, ‘나비’ 등 핵심 이미지를 추출하고 문학정신의 방향성을 검토한 것이다. 『시현실』은 이수형, 신동철, 김북원, 황민, 강욱 등으로 구성된 시 전문 동인으로서 1940년 8, 9월 『만선일보』를 통해 소개된 이후 1940년대 초반 만주문단에서 초현실주의 문학 운동을 견인한 것으로 평가받는다. 『시현실』은 ‘현실(現實)’ 재현의 문제를 무엇보다도 중시했으며 이는 빈번하게 등장하는 ‘거리’ 모티프를 통해 확인할 수 있다. ‘전쟁’과 ‘평화기념일’은 근대의 도시 거리를 반어적 풍경으로 형상화하면서 1940년대 현실에 관한 직접적 알레고리로 작동한다. 전쟁과 기념일이 함축하듯 『시현실』 동인에게 ‘현실’은 폭력과 파괴, 위장과 은폐가 난무하는 세계다. 이러한 비판적 시선의 밑바닥에는 발전과 수탈이 동시에 이루어졌던 ‘식민지-도시’에서의 체험이 깔려 있다. 한편 ‘나르키소스’와 ‘나비’ 이미지는 예술의 새로운 지향점을 제기하는 정신적 주체의 형상으로 이해된다. 나르키소스적 주체는 역사적 현실을 반성적으로 응시하는 ‘엄숙한 지성’의 주체다. ‘나비’는 창조적 행위를 통해 꽃을 되찾고 봄을 회복하는 ‘초월적’ 주체다. 나르키소스와 나비는 현실의 문제를 진단하고 그러한 부정적 요소들로부터 탈주하여 예술적 세계를 향해 나아가는 ‘초(超)현실’의 주체라고 할 수 있다. 거리 모티프와 나비 이미지는 1930년대 구인회 시인들과의 내밀한 연관성을 확인시켜 줌으로써 1930년대 조선의 모더니즘 시 문학을 일정부분 계승 발전시킨 『시현실』의 문학사적 위치를 가늠할 수 있게 한다는 점에서 주목된다. This study identifies core images used by members of ‘Sihyeonsil (Reality of Poetry)’ including ‘war’, ‘anniversary’, ‘narcissus’, and ‘butterfly’, and examines their cultural and ideological directions. ‘Sihyeonsil’ was a literary coterie for poets and its members included Lee Suhyung, Shin Dongcheol, Kim Bukwon, Hwang Min, and Kang Wook. The coterie was first introduced in ‘Manseonilbo’ in 1940, and seen has having led surrealistic movement in the early 1940s around the Manchuria region. The coterie put priority on reproducing ‘reality’, which is manifested by frequently use of a ‘street’ motif. ‘War’ and ‘peace anniversary’ depict modern streets as an ironic landscape, and serve as a direct allegory of the reality of the 1940s. As the use of ‘war’ and ‘anniversary’ implies, ‘reality’ was the world rife with violence, destruction, disguise and concealment for members of ‘Sihyeonsil’. Underlying this critical view are colonial-urban experiences fraught with development and exploitation at the same time. Meanwhile, images of ‘narcissus’ and ‘butterfly’ are understood as images of those who propose a goal of new art. A narcissistic being is one with ‘rigorous intelligence’ who stares at historical reality in a reflective manner. And a butterfly is a ‘transcendental’ being who recovers flowers and restores spring through creative acts. That is, both narcissus and butterfly are ‘surreal’ beings who detect problems of the reality, leave behind the negative elements, and head toward a world of art. Particularly, the street motif and images of butterfly have a tight relationship with members of Guinhoe from the 1930s, and suggest a position of ‘Sihyeonsil’-which partly succeeded modernism of the 1930s-in literary history.

들뢰즈에서 나르키소스적 자아와 아이온의 시간에 관한 연구

연효숙 ( Hyo Sook Yon ) 한국철학사상연구회 2012 시대와 철학 Vol.23 No.2

After Nietzsche`s declaration of God`s death, the modern subject of self-identity was diversely criticized. Instead of modern self-complete ego as Cartesian Cogito, Kantian transcendental Ego and Hegelian absoute Spirit, Deleuze presents a passive self and the fractured I in Difference and Repetition. While the modern subject posits the ego of self- unity by active synthesis of ego, Deleuze argues that the ego based on the active synthesis is generated from the passive synthesis. Especially Freud presents the narcissistic ego through the principle of pleasure and Eros, and the self-closed and the multiple ego based on the unconscious. Freud`s multipule narcissistic egos began to work the important moments in Deleuze`s narcissistic ego. Deleuze attempts to argue that the fractured I holds the nature of the narcissistic ego which is controlled by habit, eros and death instinct based on the passive synthesis. Although such a narcissistic ego does not have the realistic contents because of the empty form of time, it holds the virtuality of insane time of becoming by death instinct. It can be fully connected with the time of Aion which is suggested in Logic of Sense. If the time of Aion, distinct from the ordinary time of Chronos of past, present and future, is positively connected with the empty form of time, we do not have to go to the transcendental ego recurring to eternal erturn as the Deleuzian solution. If the narcissistic ego accepts the time of Aion as the intrinsic principle of virtual and new time of creativity, it can become a new subject of virtuality included self-possibility in future, although it has a self-closed symptom.

『십이야』에서 에코의 목소리를 듣기: 주종관계에서의 바이올라의 창조적인 모방

전자영 한국고전중세르네상스영문학회 2023 중세근세영문학 Vol.33 No.3

This essay traces Shakespeare’s evocation of Echo in Twelfth Night (c.1600-1). Echo features in Viola’s lines where she imagines a lover’s song resounded by "the babbling gossip of the air" (1.5.227). This phrase, closely imitating Arthur Golding’s 1567 translation of Ovid’s Echo and Narcissus from Metamorphoses, comes to identify Viola with Echo, suggesting imitation and repetition as key factors in depicting the relationship between the master and his page boy. In his later comedy, Shakespeare revises and expands on the motif of the transvestite page boy’s mediating role and explores more fully Viola’s enactment of the multiple roles that she must play for Orsino: the reader, mediator, and actor of his courtship text. Recognizing the literary value of Shakespeare’s classical debts, I argue that Echo, derived especially from Ovid’s version and placed in the contemporary context of female-voiced complaint, offers an implicit but crucial model for Viola’s service as a messenger. Although Echo is only obliquely invoked in the play, the figure’s characteristic imitation suggests a version of collaborative authorship which is not attributable to a single individual speaker or writer and calls for an extensively femininized space for the articulation of desire.

롱사르의 나르키소스, 통합된 세계에 대한 욕망 : 사랑시를 중심으로

손주경(Joo-Kyoung SOHN) 프랑스문화예술학회 2023 프랑스문화예술연구 Vol.86 No.-

Glas des sciences humaines : Narkissos Scientificus coupable

( MadecLoic ) 덕성여자대학교 인문과학연구소 2011 인문과학연구 Vol.16 No.-

Narcisse est partout. Ce n’est pas seulement l’homme de la rue, l’individu contemporain obeissant a la commande sociale moderne : le FUN. On peut aussi le trouver sur les campus, dans les facultes de sciences humaines. Plus interesse par la construction de sa carriere que par une tentative de reelle explication des phenomenes lies a l’homme et aux groupes humains, ce afin de rendre notre connaissance et nos vies meilleures, le Narcisse erudit s’admire en train de faire semblant d’eclairer son champ, de nous eclairer. Le manque de scientificite des sciences molles n’est donc pas la raison principale de leur discredit et de leur echec. Elles souffrent parce que leur noble mission est trahie par les universitaires eux-memes.

나변(那邊)의 거울 -김현 비평 속의 나와 그 주변

한순미 ( Soon Mi Han ) 전남대학교 호남학연구원 2011 감성연구 Vol.2 No.1

This study purports to examine the range of insight of Kim Hyun, especially the one placed on ``I``. This ``I``, making an opposite pair with plural pronouns, holds special meaning. It is not just singular person, but plural existence wandering around to look for ``answer``. In Narcissus Poetics, Kim Hyun places two questions of ``Who am I?`` and ``Who is the Poet``, analyzing myths. The question asking what the poem is, takes place along with the one on the identity. The well of Narcissism Kim ponders over is deepened bythe meanings Pausanias and Ovidius impose. This well framing critical insight of Kim``s, is connected through endless memory and the realm of death, rather than the means of representation or reflection. The question ``Who am I?`` can``t be answered without one Who is the Poet, as ``I`` can``t exist without ``encounter`` to others. The issue of ``encounter`` leads us to wonder how Kim is motivated to practice ``Sympathetic Criticism``. For instance, Kim`s four different ways of analyze Seoul, winter 1964 show minute disparity. They collaborate on a singular aim with pursuing continuously. ``I`` in these articles is compared to an exile who deliberately delays an immediate answer and directly goes on for another question. This means Kim`s ``Sympathetic Criticism`` refers to reading in a state of exile seeking to trailblaze interpretations, rather than in a fixed quest for a singular answer, by encountering to the consciousness of the writer, not physical one. In order to investigate the issue of encounter, Kim explores various fields including Myths, Philosophy, Literature and Arts, getting rid of barrier between criticism and article. One might say the article Kim writes by inspiration of Magritte and Foucault is close to the painting of Gogh, therefore his painting can be in the territory of literature, ``suffering``. The criticism of Kim Hyun is a record of an exile. In other words, it is a journal of a person``s archaeology. It is a mirror which reflects the innermost part of himself. It attempts to endure the limit of literature, delineating the fear for the solitude writing poses, not mere making a confession.

「가슴 아픈 사건」에서의 사랑의 부재와 제임스 더피의 좌절

박윤기 ( Yun Ki Park ) 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.2

One of James Joyce`s many alter egos, James Duffy who won`t love anyone except himself is a frustrated superman. As he is incapable of reciprocating the human affection Emily Sinico offers him, Duffy is rendered a figure of despair. A painful Case, Emily Sinico seems to offer him a chance to regain his lost hope and life`s un-enjoyed vitality. Duffy, however, fails to answer her offer of erotic love call. He is unable to regard her as a positive woman. Duffy in this episode can be said to have a human desire, sensuality, and love and the apple expresses his relation to them life`s feast. As we can see, however, the apple is over-ripe and forgotten under the lid of the desk. The over-ripe apple which is on the verge of decay represents Duffy`s corrupting his life. Gnawing the rectitude of his life, he feels that no one wanted him and he is really an excluded remainder, outcast and exile from the world of life. He is in a sense Narcissus who loves only himself. Although he wants to be a Nietzschean Ubermensch (Superman) by refusing the erotic love and being an angelical stature, he ironically becomes a frustrated superman in the love`s absence story by refusing the love.

니콜라 푸생의 ‘영웅적’ 풍경화에 대한 서사적 접근

이지연 ( Lee Jiyeon ) 덕성여자대학교 인문과학연구소 2024 인문과학연구 Vol.38 No.-

The purpose of this study is to clarify the narrative effects and thematic meaning produced in a combination of figures and landscape in Nicolas Poussin’s landscape paintings, based on the major critics’ theories of the day, from Roger de Piles. In cultural circumstances where the landscape was relatively considered as a subordinate genre, the theory of de Piles has received great attention because he tried to emphasize the narrative aspects perceived as an exclusive property of istoria by distinguishing the landscape into two main sorts: “style Champetre” and “style Heroique”. In his landscapes dating from around 1650, Poussin as a representative painter of the latter made up a ‘fictional’ story through a serial combination of motifs, unlike the historical painting for which he was used to postulate a subject in advance. Especially in his Stormy Landscape with Pyramus and Thisbe(1651), a mythological archetype functions as motive solving a narrative clue. It plays, furthermore, a crucial role in moving spectators’ emotions and in bringing out their passions in relationships with natural phenomenon. To sum up, Poussin tried to embody a contemplative landscape in company with a pleasure for the soul, by composing an elaborate narrative structure where tension and release are repeated.